It was never celebrated in the same way as The Specials‘ 1979 self-titled debut album was, nor its follow up, 1980’s More Specials, but In The Studio – under the moniker The Special AKA – really should be regarded as one of the great records of the 1980s, given the impact that some of its tracks made on the world.
Of course, ‘Nelson Mandela‘ was the focal point of its clout; all joyous trumpets and one of the most infectiously singable choruses in the history of music. More importantly, of course, the single release’s sleeve featured a blurb about the plight of the former ANC president, raising awareness about the horrific treatment suffered by Mandela in prison, all for fighting the cause of a liberation movement that opposed Apartheid. This song was huge in many countries and played a significant part in Mandela’s release from prison six years later.
Aside from that, In The Studio features further evidence of the political astuteness of Jerry Dammers on ‘War Crimes‘ – “I can still see people dying, now who takes the blame? The numbers are different, the crime is still the same / From the graves of Belsen where the innocent will burn / To the genocide in Beirut, Israel, was nothing learned?” – and the continuation of the ethos of the 2 Tone movement on ‘Racist Friend‘. It might be blatantly obvious, but “If you have a racist friend, now is the time, now is the time for your friendship to end” is as effective as it may be simplistic.
Another single was ‘What I Like Most About You Is Your Girlfriend‘ which I feel is one of those “How did THAT not reach the Top 40?” type songs, but perhaps audiences in 1984 weren’t quite prepared for such a sleazy record, with Dammers’ falsetto vocal demanding: “When will we meet again and where will it be? / Why don’t you both come over to my house for tea? / I’d rather she came round on her own, yes it’s true / Your girlfriend is what I like most about you“, though it was apparently written by JD for his own girlfriend after encountering those creepy types lusting after her. I can certainly relate to this, as I’m sure many folk can, though the track is delivered in a beautifully blithe spirit that makes it arguably the best thing they did, post Hall, Golding and Staple’s departure.
There’s a predominantly jazzy feel elsewhere on the record, the inimitable Rhoda Dakar from The Bodysnatchers, or Stan Campbell taking lead vocals on most of In The Studio‘s numbers, including the unusual ‘Housebound‘ – which is like the musical equivalent of a drunken stagger home from the pub, making it weirdly addictive – and the fucked up music hall swagger of ‘Alcohol‘.
While this record doesn’t always quite have the commercial pop sensibilities that the original Specials records did, it certainly showcases what an incredible talent Jerry Dammers was (and probably still is) and this 40th anniversary half-speed master really does enhance the sound quality of the album, giving it a rich, full quality that is especially evident on its closing gambit ‘Break Down The Door.’ That one begins almost like a Steve Winwood composition but ends up as something that came, unmistakably, from the pen of the Specials genius.
It really ought to be hailed as a landmark album.
In The Studio – 40th anniversary edition is out now on 2 Tone / Chrysalis.
